Still doing the D.A.N.C.E. a decade later: Justice on 10 years together, ‘Woman Worldwide,’ and what the future holds for the greatest dance-rock band of all time [Interview]

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Still doing the D.A.N.C.E. a decade later: Justice on 10 years together, ‘Woman Worldwide,’ and what the future holds for the greatest dance-rock band of all time [Interview]Justice Julian Bajsel Coachella C014875

Growing up with one French parent, as a child I was exposed to a more-than-healthy amount of Gypsy Kings. My Parisian mother, her questionable selections aside, always maintained music as a strong element of family life. However, somehow in raising someone who grew up to be a dance music journalist, my parents often have no idea what I do for work. Occasionally some dance music does break through their Baby Boomer consciousness though, and most often over the course of the last decade, it’s been courtesy of French electronic icons Justice.

Harmonizing the perfect blend of disco, classic rock tropes, and electro — the band’s inimitable catalog undoubtedly boasts a multi-generational appeal. Justice’s seminal debut album, †, was one of my first real forays into electronic music, and when I fell, I fell hard. It was essentially my parents’ introduction to electronic dance music too, so when I told my mother I’d be interviewing Xavier De Rosnay of Justice, a French dance legend she’s actually quite familiar with, she insisted on joining me. In fact, there was really no negotiating. Anyone else with a French mother, De Rosnay included, probably understands. So I had my mom present to help me interview one of the greatest electronic music minds of all time just ahead of Woman Worldwide‘s highly anticipated release.

Still doing the D.A.N.C.E. a decade later: Justice on 10 years together, ‘Woman Worldwide,’ and what the future holds for the greatest dance-rock band of all time [Interview]Justice Ww Live AnthonyGhnassia Credit

It has been almost two years since De Rosnay and bandmate Gaspard Augé’s critically lauded third LP, WomanNow, the two electro luminaries have followed up with a new “live” album — an homage, or perhaps more accurately, a counterpart — to Woman‘s live production, rebuilt in the studio as what De Rosnay describes as a “proper Justice record.” De Rosnay explains the record’s complexion, detailing, “After maybe six months of touring, we were really feeling the music we were playing on stage every night, and we just wanted to share it with the people who are interested in it. So we thought to record it and make another live album, but we wanted to find a way to make it different.” In those six months, the “Safe and Sound” producers brought Woman‘s flooring live manifestation to Coachella, Lollapalooza, Sónar, and home to Paris’ AccorHotels Arena to name a few. De Rosnay continues,

“We love A Cross The Universe and Access All Arenas, but they were meant to capture what its like to be at a Justice show. We knew people were frustrated, and so this time we decided to make a very clean version, very hi-fi version of it.”

Justice on wax compared to Justice on stage are two very different, polarizing experiences. De Rosnay boils down his relationship with that dichotomy, painting a picture of everything he and Gaspard wish they could do on stage being packaged up and brought to the studio to be fully actualized. Expressing a limitation on the minimal processing they can engage in live on stage, eventually, performance notes collected night after night were brought to the pair’s state-of-the-art studio in Paris with the intent to merge the two experiences. With the time, space, and resources needed to make their live show emulate the quality of a crisp, clean studio album format, Augé and De Rosnay were able to cherry-pick the best parts of their hair-raising live set and recreate them into Woman Worldwide. “It’s a version of what we’d like to do every night that we can’t do,” says De Rosnay.

Still doing the D.A.N.C.E. a decade later: Justice on 10 years together, ‘Woman Worldwide,’ and what the future holds for the greatest dance-rock band of all time [Interview]Justice Woman Worldwide Photo Cred Pascal Teieira 2

Among all the sonic chaos the two manage to pack into each LP, there’s an obviously meticulous nature to the duo’s work ethic. Surprisingly enough, the process of writing music actually proves to be much more organic and emotional for De Rosnay than calculated and measured. My mom chimes in, prodding in French about De Rosnay and Augé’s knack for perfectionism: “Are you happy with how the final product turned out?” I can feel my ears and cheeks getting hot.

“We are very happy with the album. It’s not perfect, but it’s perfect for us. Perfect isn’t the right word… its very accurate in terms of being what we originally imagined it to be. It is impossible to make a perfect record, but it’s very faithful to our idea. The records I love the most are not perfect in a technical term. As long as we connect to the music, then we can put it out.”

Since their 2007 debut, the band’s artistic development has naturally progressed between predominating styles and themes, however, it has always managed to hold a sense of genuine timelessness. “We don’t mind actually being tagged in one category. It’s not for some people. But we don’t mind the categorization. Every time we hear a new band, the first thing we do is try to categorize them,” De Rosnay admits. Though s heady, distorted electro backbone stands in direct contrast in many places to Woman’s futuristic gospel-glam core that came a decade later, both albums still undoubtedly look, sound, and feel like Justice. It’s been a gradual advancement of style, “Yeah, it’s a little strange,” starts De Rosnay, “on one hand, we always feel like we’re making the same thing. The disco element has always been there, like ‘D.A.N.C.E.‘ is straight disco with rock elements, perhaps just in a different shape. When we finish a record we never know if its too similar to what we did before.”

“Even if tomorrow we’re making a hard rock record, or a rap record, or even a reggaeton record, I think it will still sound a lot like Justice.”

Though, the two producers are far from the same wide-eyed DJs they were in A Cross The Universe touring the states for the first time a decade ago. Sometimes the leather jacket and stud-clad version of Justice seems like a lifetime ago. De Rosnay concedes that the pretenses of a full-length visual feature similar to the band’s unforgettable tour documentary seems unlikely nowadays. He sighs over the thought, “99 percent of music documentaries have a band as the subject and then people all talking about how great that band is, ‘oh they’re so cool’ or whatever,” De Rosnay laments. “We didn’t want to do that. We made A Cross The Universe for fun. We didn’t want to make a documentary that says we’re great. Making A Cross The Universe was like Jackass — we wanted anyone to be able to enjoy it and find fun [in it], even if they aren’t connected to the music we make. At the time I think I was 25, [Augé] maybe 27.”

Still doing the D.A.N.C.E. a decade later: Justice on 10 years together, ‘Woman Worldwide,’ and what the future holds for the greatest dance-rock band of all time [Interview]Justice O2 Briton Academy Credit Guifre De Peray

A Cross The Universe was really about what happens when you take a new French band and you allow them to indulge in the rock and roll cliches we’ve always been told about. But we made it knowing that ten years later, we’d be in a completely different place.”

De Rosnay maintains his characteristically cool, tight-lipped allure when prompted on a possible visual element to Woman Worldwide, “We’re always trying things. If it’s good enough, it’ll exist. For example, we tried to make a film for Access All Arenas and spent a lot of time on it, but it wasn’t good enough, so we didn’t release it. But we’re always trying to create a visual tie to things.” In planning ahead, De Rosnay and Augé prefer to savor the moment, but with a cycle of nearly five-year gaps between studio albums and nearly equal measures of time between live projects, with Woman Worldwide’s release, the duo’s pattern suggests a hiatus is due.

De Rosnay politely laughs at my mother’s nudging as she pesters him about taking, “les grandes vacances” after the duo’s tour concludes at Austin City Limits in October. Even deities make obligatory small talk with mothers. He counters, “Sometimes it feels like we’re on a permanent vacation, but at the same time we’re always working. It’s been two years since Woman was released and in the time since then, we’ve been touring. If we started working on the next album right after the tour and that takes a year and a half, it would be finished by late 2020 — that’s already four years between two albums without a break,” remarks De Rosnay. “We do disappear in a way, though, since when we’re recording we don’t play live.” Has any new music been written since Woman’s release? “…No.” Ah, that abrupt, yet ultra-cool French temperament.

Still doing the D.A.N.C.E. a decade later: Justice on 10 years together, ‘Woman Worldwide,’ and what the future holds for the greatest dance-rock band of all time [Interview]Alice MoitieÌ Credit Justice Press Shot

After a brief pause, De Rosnay does creep forward. “With Woman, we worked a lot on the live show. Then we toured and spent a lot of time working on Woman Worldwide, and now we’re working on… things. But it’s hard to start writing a new album when we’re still on the last one. One of the greatest pleasures of making music is being in our studio, together with time and space. We could work on laptops in hotel rooms and planes, but it’s not a thing we enjoy. That works for some people, we just like the pleasure of being in our own studio.”

Somewhere between nu-disco and New Testament, Justice have crafted, and then re-crafted, a certified masterpiece with Woman and the ensuing Woman Worldwide. Now that we might be nearing the end of a prolific chapter in the visionary Justice narrative, De Rosnay departs with a seemingly innocuous, yet perhaps foreshadowing salutation. “We hope this continues as long as possible, let’s cross our fingers. The door is always open.” Here’s to another decade of Justice For All.

Justice take us back to ‘Woman’ through live album ‘Woman Worldwide’

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justice

2016 ended on a high note for Justice fans, who were treated to the duo’s third studio album Woman in November. It was unabashedly Justice; filled with nostalgic hits of disco, funk, electro, and house, yet arranged in a way that is modern and built to endure. Furthermore, it stood out as a veritable piece of artwork among a sea of monotonous singles.

An Essential Mix and an expansive world tour later, Gaspard and Xavier have returned with a refreshed vision for Woman. They’ve re-written several of the album’s pieces whilst performing them live, and have since assembled them into a brand new live album titled Woman Worldwide. However, this isn’t a run-of-the-mill live album, in that Justice have more or less created a brand new body of work out of their re-creations.

The storied pair have marked the occasion with the debut of “D.A.N.C.E. x Fire x Safe and Sound,” a livening combination of their three album singles that have been re-imagined into a fluid, high-charged new piece of music. Its energy is truly infectious.

 

Pre-order the album here

Justice debut new ‘Stop’ music video, announce live streaming performance at Google I/O

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Justice have shared the new music video for “Stop” from the duo’s lauded 2016 LP WomanThe new feature, animated by another French creative pairing, illustrators Mrzyk & Moricea, accents the dreamy, slow-burn disco cut with a synesthetic dose of neon that perfectly completes the song’s retro aesthetic. Scaling back the album’s psychedelic dance ballad to a leaner radio edit, the “Stop” video winds and weaves through a spacial landscape of shifting imagery, projecting some of Justice’s most iconic visual staples along with plenty of stimulating graphic symbolism.

The video comes in conjunction with more good news for Justice fans. The French electro visionaries are currently amid a packed international touring circuit in support of their most recent studio album, and they’ve just added a rare live stream event to their itinerary. Adding to their list of high-profile performances, Xavier and Gaspard have been announced as the musical headliners for this year’s Google I/O conference. The set will be live streamed on YouTube on May 9 from Shoreline Amphitheater, and will include opening support from Phantogram, as well as a live debut of the new “Stop” music video.

 

Topless Woman Attacks Man That Groped Her At This Music Festival

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Gisbourne, New Zealand – Sexual harassment is no joking matter. During the Rhythm and Vines music festival in Gisbourne, New Zealand, some guy decided to run up and grope an unsuspecting female. The 20-year-old woman can be seen quickly turning around to punch the harasser in the face multiple times as well as her friend

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Alan Walker Forced To Stop Set After Woman Climbed Pillar at Escape Psycho Circus

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As Insomniac Event’s Escape Psycho Circus took over the NOS Event Center in San Bernadino, not everything went accordingly to plan. During Alan Walker’s set, one woman decided to climb up the light structure pillar. To avoid disaster, Alan Walker and Insomniac Events quickly stopped the show and even had one of the crew members

The post Alan Walker Forced To Stop Set After Woman Climbed Pillar at Escape Psycho Circus appeared first on EDM Sauce.

Sweden’s Women-Only Festival Statement Reaches Its Kickstarter Goal

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Following multiple reports of sexual assaults taking place, the Swedish community decided to take to Kickstarter to try and organize a women-only music festival. The Swedish comedian Emma Knyckare thought of the women-only festival called Statement Festival back when Sweden’s biggest music festival Bråvalla had been cancelled. “At music festivals, everyone should feel safe. This

The post Sweden’s Women-Only Festival Statement Reaches Its Kickstarter Goal appeared first on EDM Sauce.

Emmit Fenn – Woman (Original Mix)

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Quickly-rising producer Emmit Fenn has turned heads since his 2015 debut single, “Painting Greys,” an indie-electronic crossover that leans in the future bass direction.

The LA-based artist is back with a new sultry single “Woman,” where minimalistic production shines in its simplicity and takes a new direction for the artist. Drawling vocals sink into the soul atop a rumbling bass line and arresting hi-hats on the track, which in its dark mystery follows a similar vibe to his recent release “1995.”

Fenn combines classical piano training with a mature voice in his songwriting to create attention grabbing sounds. Combined with his genre-defying music, Fenn’s immersive website experience by web tech company Active Vision makes him one to watch in 2017.

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Justice Drops Frank Ocean, Gesaffelstein & More in New Essential Mix

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The dynamic duo, Justice, has just delivered their latest BBC Radio 1 Essential Mix. This has been quite the year for these two grooving DJs. The duo has just recently released their third studio album “Woman.” To top off all this excitement from the album, the two decided to share with the world what Justice

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Justice finally return to the Essential Mix this weekend

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Justice crept out of their Parisian studio hideout this year brandishing a new full length LP, Woman, which proved to be our album of the year in 2016. The press junket behind the record was typical for Justice: a steady stream of tantalizing singles, enigmatic, rare online pop ups, and of course, a second Essential Mix (their first in nearly a decade) as the icing on the cake.

The Essential Mix was every bit as anticipated as the album itself, with fans starved to hear a broader scope of Justice’s new vision. However, just ahead of the mix’s debut, Gaspard and Xavier had to postpone their appearance due to scheduling conflicts, promising fans that the session would air before year’s end.

Delivering on their promise, the duo are lined up to take over the BBC Radio 1 decks this weekend on Saturday, December 17. The second Justice Essential Mix will arrive nearly one month to the day after Woman‘s release, and now that fans have had the proper amount of time to digest the pair’s latest studio offering, the anticipation is somehow higher now than it was a month ago.

The French electro factotums put up a strong effort for album of the year, they reasserted themselves at the top of everyone’s production radar, and now they’re primed to drop what is likely to be one of the top Essential Mixes of 2016 as well. In preparation, listen to Justice’s first Essential Mix below:

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Justice are releasing a CD/vinyl hybrid of ‘Woman’; behold it in all its glory

Justice are releasing a CD/vinyl hybrid of ‘Woman’; behold it in all its glory

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Justice‘s Woman excelled in pushing genre barriers – so much so, in fact, that we’ve named it our number one album of 2016. Now, the duo are pushing technological barriers in an unusual way. Justice’s third studio album has been available in CD, vinyl, and digital formats since mid-November; however, their backing label, Ed Banger, has created a prototype which melds the three formats.

Justice uploaded a video to their Instagram today, December 7, that shows a CD/vinyl hybrid of Woman in action. Captioned, “•WOMAN• one side CD / one side VINYL – this very limited edition is a prototype (first ever!) and is not yet for sale.” The video sees Ed Banger label-head Busy P showing off the progressively retro format to astounded cameraman Glenjamn. Though no release date for this multi-functional iteration of the album has been set, it will the ultimate collectors item for any Justice fan.

Imagine being able to appreciate the warmth of Xavier and Gaspard’s tertiary LP on a record player, then blasting “RANDY” in the Honda Accord’s CD player, and then becoming giddy with excitement upon the recollection that the Woman CD/vinyl can be transferred onto iTunes via any computer with a CD drive. Sure, the album is available on every major online streaming platform, but didn’t that scenario sound titillating?

Watch the “new” format of Woman being played on a turntable in the below video.

H/T: Mixmag

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